From goffmac747@aol.com Tue Apr 12 16:07:01 2011
Subject:Re: Why no mini-Leslies?Oh Yeah?

Or a Rotovibe, a Voce Spin. You know, in a band situation you don't
really need the "low end" you think you need because in a proper mix
the kik and bass guitar are already occupying the low freqs. There
would be enough low end from a G37 to occupy an organ's rightful space
in the audio spectrum unless you need to kick pedals.

I know from first hand experience, a 142 shorter than a 122 (even if 15
inch woofers are involved) still has enough low end to make Tears For
Fears, John Legend sound like their records. In fact some prefer the
tighter sound of a shorter cabinet over a looser sounding 122. So if
you wanted a mini leslie, what would a tighter, smaller real leslie do
for your presence in the mix specially with the eq controls on the amp?

As has been mentioned, the adage, the more things change the more they
remain the same applies to anywhere. You save space on a sim, maybe get
a better connection transfer to the PA but the sim is not really moving
air so the trade-offs are still there, space vs. weight vs.reality.
Whatever is least important to you will be your reasons for going with
a certain piece of gear. Even if "clonewheeling" is all about what you
can fit where transpo wise, you still have to carry a large amp and
speakers to get the large sound. How much low end can you get out of a
pair of JBL Eons? Watching Rod Argent wail on Zombies tunes with his XK
going through Eons didn't hamper his ability to make a convincing
overall mix. 10 large dual 18" subs lining the stage front will make a
mosquito sound like a blackhawk helicopter. How much further off could
a G37 be from a set of Eons or going through a decent equipped PA? Even
if you'd use Eon 15's the depth of an Eon cab isn't that deep to
produce booming bass.

Mixing a Leslie track for a recording, in order for the track to stand
out and not clobber the bass guitar you have to thin out the lower
rotor somewhat so for all intents the bass whittles down to a smaller
sized speaker or cabinet's tone. Some guys think a Marshall 4x12 cab is
essential to get a rock sound in a recording, when in reality many guys
use smaller amps and crank them up as the smaller amp ends up sounding
bigger than the bigger amp which ends up sounding smaller. Go figure.
And then they play the gig with a wall of full stacks and maybe only
one half stack is actually plugged in.

Being a clonewheeler is fine and fun, but having a mature view of how
sound gets created by the pros, when certain instruments are lane
straddling into the oncoming lane of the bass player's and the
drummer's kik's low-end spectrum, then a little reflection may be
needed.

I have an upcoming concert for Maroon 5 and Kenny Loggins. Maroon wants
a real B3 with pedals, Kenny wants a VK7 and a preamp pedal but they
both want real Leslies, in fact Maroon wants two. My point? Why does
Kenny want a clone when he could have a B3? His keyboardist's setup
must need the smaller footprint of the clone and not that important for
him to have a B3. So these pieces have their place.

Granted we're talking pro tour vs. weekend warrior. Hopefully the
average clone gig has a decent PA that goes down low enough to make a
small set up sound like a great big huge one and that each player knows
how to pace their sound and volume to shelve their spot in the audio
spectrum. If not, then volume wars happen, the sound guy ends up
cutting off certain channels as its bleeding into everywhere and that's
when you know you are watching boys trying to emulate men. Men play
with dynamics, boys think they need to cover every frequency at the
same time.

Goff

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